DID YOU READ

Bob Forrest and Keirda Bahruth Capture the “Monster”

Bob Forrest and Keirda Bahruth Capture the “Monster” (photo)

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In the midst of one of the biggest music festivals in the world, Bob Forrest wanted the music to be shut off. “Look at this fucking thing that’s going on,” he asks me, gazing back in the direction of Austin’s infamous 6th Street. He laughs, “Do you want to be over there in that fucking thing?”

Though Forrest is still an active musician, there was a time when he was right in the middle of the fray. As the frontman of Thelonious Monster, he came up with a group of Los Angeles bands including the likes of Red Hot Chili Peppers and Fishbone (also the subject of an excellent documentary at SXSW called “Everyday Sunshine”) that ruled the L.A. scene in the early ’80s with a sound that found the rhythm in chaos described as “drunk rock” by one critic. And Forrest was drunk, and high for most of it, alienating bandmates, missing in action for his immediate family and failing upward as Thelonious Monster became coveted by major labels, even though the band would never hold together long enough with a tempermental lead singer to ever see mainstream success.

However, where “Bob and the Monster” differs from most documentaries about burnt out musicians is that Forrest ultimately traded one art for another, becoming a drug counselor with an unusually compassionate touch. Some may know this already from “Celebrity Rehab,” the VH1 show where he’s often been a shoulder to cry on and without a doubt the calmest person in the house. (Outside is another matter since as he told the audience at the film’s premiere, “lf you’re a fan of that show, I appreciate it, but I’m not.”)

Still, what director Keirda Bahruth captures in “Bob and the Monster” is the wild streak that fueled Forrest’s early days as singer/songwriter who found eloquence in the mundane to his crusade against the accepted treatment of addiction, which trades out injections and inhalations for prescription pills in favor of a more human, compassionate approach. As the film demonstrates, none of this came easy to Forrest, who had to endure some unusual discoveries in his family tree, a post-rock life flipping burgers in the L.A. coffee shop Millie’s, and a particularly ill-conceived cover of Jimmy Ruffin’s “What Becomes of the Broken Hearted” on his way to becoming a confidant to the likes of Courtney Love and opening his own shop, Hollywood Recovery Services, to practice the treatment that helped him recover from his own demons. A day after the film’s premiere at SXSW, Forrest and Bahruth sat down to discuss his remarkable story, as well as some of what wasn’t in the film, the ways the music industry and the drug industry are quite similar, and why there really are second acts.

How did this documentary come together?

Keirda Bahruth: I have been aware of Bob since I was a teenager through his band Thelonious Monster. I was a fan of his band and through that, I came across a record that he put out called “The Bicycle Thief” in 2000. When I heard that record, I was really moved. I knew Bob had a drug problem back in those days and “The Bicycle Thief” is a very autobiographical record, so you could hear a lot of his story. And I became very intrigued with wanting to make a film about him. I knew that there was a really compelling, interesting story, and Bob is very likeable, so I approached him.

Bob Forrest: The Bicycle Thief record really is a document of what happened after the crash – it has a song about the first time I picked up a guitar sober, like really sober after years of trying. And I always feared getting back into music because I thought it would lead back into drugs. A lot of that is on there – that hesitancy. It’s a pretty honest document of what it’s like to survive drug addiction and what it’s like to try to create a second happier life. Then [Keirda] came and asked about the story and the story hadn’t been written yet. That’s why the film kind of ends like what is he doing? [laughs] I like that feeling because I don’t know what I’m doing. I’ve got a company. I know that. I’m barely breaking even, I know that. I’ve got a philosophy that’s not very popular, I know that. [laughs]

KB: But you know what, Bob? One of the things that he said to me when I said I want to make a documentary about you, and he said, “that’s great. There’s been a few people that have tried already.” So what had happened there?

BF: There was more of a kind of biopic version of it and then people were compiling things, but why I think the film is so compelling is that there is a developing second act of my life. F. Scott Fitzgerald said, “There’s no second acts in American life” – that’s because he’s an alcoholic who died of alcoholism and never had a second chance at life. So my getting sober then is in the process of becoming. And I think that’s documented well in the movie.

I’m not an expert about anything. Anybody who says they’re an expert about addiction – how can you be an expert about something so vague? You can generally educate and say this is generally what happens, but I’ve just seen too much [to standardize] what is the thread that goes through this process that people – drug addicts and alcoholics – transform themselves — it’s indefinable. So how can you be an expert about something that’s indefinable? You can be an expert about describing it and describing generally what happens, but there is no cookie cut formula and that’s my problem with the industry itself that says there is a cookie cut formula.

This film also isn’t a cookie cutter documentary, using claymation to depict some of Bob’s drug use and since it was filmed over many years, the film’s interviews look to be conducted on several different types of cameras, which give it an interesting texture. Was that something you embraced or was it frustrating over time?

KB: I started to embrace that. I think as time went on, I really had a desire for the film to want to look better, but I really embraced the formats of the ’80s too. I really love the way VHS cam looks. I really love the way Super 16 looks. And it really was just a collective of all these different formats, so the Panasonic camera, the SD camera that we used to shoot Anthony [Kiedis] and a couple of those interviews on, that was the popular camera in 2006. Cut to 2010 when we interview Courtney Love and we’re shooting on an HD cam, then you up-res it all to HD, which is the format now, it’s the great sum of the SD cam that used to look really good. So it was a process that could’ve been disheartening, but I learned to embrace it. And so you know what? This is a story that was told over 30 years and at the end, it gets super clean because we’re in present day and in the ’80s, it was really gritty.

BF: Just as a viewer, I think it’s like the memories of things. Some are cloudy, some are distinct – that’s how I see it. I don’t mind that it shifts all around. It seems to bother film people more than just fans of film. [Pointing to Keirda] She saw some blurriness and I’m like the whole thing is memories and ideas and trying to recapture and trying to show [what happened]. [laughs]

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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